Reviews

*** WARNING - This review may spoil your enjoyment of the film...

***...although I doubt it!

I remember laughing through most of Independence Day, so didn't hold out much hope for this latest Emmerich blockbuster... I'm glad I don't have high hopes.

The sentiments of this movie are entirely laudable, which is probably why actors such as Ian Holm and Dennis Quaid signed up. Essentially, the world is consuming too many fossil fuels, so creating a major climactic shift, endangering the future of the planet.

Tremendous special effects ensue, as you would expect - however, it's a pity that they didn't allocate a bit of the CGI budget to a good script-writer.

I'm sure that most Americans were whooping at the end, but for anyone else, this film is just pure comedy. At the screening I went to, most of the audience were in hysterics at the cliche-dripping lines that many of the characters have to deliver.

In addition, the film is full of pointless one-dimensional characters, such as the cranky, reactionary Vice President, the sick kid in need of help, the nerdy student, stock-looking hero's wife (who is actually a doctor to give her some depth)... the list is endless.

To add insult to injury, this climactic shift only seemed to be happening to America, however hard they tried to make us believe that England and Scotland, Europe and Japan were also being affected. Cue images of affected 'landmarks' such as Statue Of Liberty, Chrysler Building, Hollywood...

Thank god, they didn't get Dennis Quaid to try and send the Shuttle up to solve the problem, although I bet Emmerich considered the idea, given that a satellite always happens to be over the right part of Earth to deliver images to Houston - strange that.

Undoubtedly this will rack up huge box-office receipts, but even for a Hollywood blockbuster this has a cheese quotient bigger than the Cheddar Gorge.

Feel free to go and line Roland Emmerich's pockets further, but don't say you weren't warned.

The thought of Jim Carrey and Kate Winslet in the same movie almost put me off before I entered the theatre, but the prospect of a Charlie Kaufman film was too strong to resist.

In fact, both of the leads were gratifyingly good and not at all annoying, Carrey especially. (Note to Jim: do more drama and less of the comedy gurning, like Bruce Almighty!)

The basic premise of the film is that Jim and Kate's characters are together, then split up and she decides to erase all memory of him. He discovers this and then decides to go down the same route. That's where the fun starts.

In contrast to Adaptation and Being John Malkovich, this has a lot more romance in it and I imagine that many will shed a tear at the film.

Having left the cinema almost 48 hours ago, though, I'm still trying to decide whether I like this movie or not. It made me laugh at times, it definitely made me think about whether there's any real point in erasing memories of someone, but I feel that Mr Kaufman may have bitten off more than he can chew this time.

The trademark wackiness is still there, coupled with some temporal distortion, but overall I get the feeling that Kaufman's trying too hard. Undoubtedly, it'll do good box office and get good reviews, but it's no Being John Malkovich, or even an Adaption - sorry. 6 out of 10

Omigod. I haven't seen a film that moved me as much as this for a long time. It tells the tale of two 30-something brothers who own a dilapidated second-hand bookshop in Glasgow, and their search for different things.

The writing is effortless, but so natural and brilliant, the characters are beautifully crafted and it makes a refreshing change to see a film that is not about the location or the effects - but about the story and characters.

As for the acting - not a bad word can be said about any of the actors. The three principals (henderson, sives and rawlings) are so utterly convincing and there is so much chemistry between them all. They are backed up by two brilliant turns from Julia Davis as Moira and Mads Mikkelsen as Horst.

It may sound depressing from the title, and you may well shed a tear before the end of the movie, but I can guarantee that you will leave the cinema a wiser and more enriched person for having seen Wilbur...

In Britain, you can guarantee that there's always someone on the Tube reading the novel Captain Corelli's Mandolin. You can also guarantee that anyone who has read it will say, 'How can they make it into a film?' I also thought that, but was not disappointed. Set on the island of Cephalonia, CCM basically tells the love story between Pelagia (Penny Cruz) and Captain Antonio Corelli (Cage), set against the unfolding story of WW2. It changes elements of the book (as it had to), but for the good and is shot intelligently, sympathetically and beautifully, with some marvellous performances - John Hurt being a notable. OK, so it doesn't tell the book word for word and it distorts some of the original history, but it looks wonderful, is engaging and very emotional. Go see, even if you do think, 'They'll never make it as well as the book.'

Gentle Celtic productions are very much in vogue at the moment. What with Waking Ned, Ballykissangel and the late Hamish Macbeth. The Closer You Get is a gentle tragi-comedy with a heart-warming if unsurprising ending. All the performances are very strong, particularly from the ever-magnificent Ian Hart and Niamh Cusack, but you can't help feeling that you've seen it all before. If you're feeling in need of a pick-me-up on a Saturday afternoon, then go see, but otherwise wait for the next series of Ballykissangel!

The premise of Bottom crossed with Fawlty Towers sounds great! However, Ade Edmonson & Rik Mayall have managed to create a film that raises barely a titter. Ten years ago, Rik Mayall's mad stare and Ade's idiocy were funny, now they are just annoying.

The film had promise - though the most horrendous hotel in Britain is not a new idea - but failed to deliver. The saving graces were competent performances from Simon (Spaced, Big Train) Pegg and Helene Mathieu, and the film is only 90 minutes long. Sorry, guys, but you really have hit the Bottom

After Pretty Woman, it would be assumed that the new vehicle for Julia Roberts and Richard Gere would have similar success. I sincerely hope it doesn't. Although, on occasion an intentionally funny movie, the frankly vomit-inducing final 20 minutes take it from an OK movie to an awful one. Initially promising, the film turns into a mawkish load of twaddle, not helped by the conveniently forgotten plotlines and, yet again, glossed-over age difference between two leads. This will undoubtedly do big business at the box office, mainly by those eager to see a repeat of Pretty Woman

After Pretty Woman, it would be assumed that the new vehicle for Julia Roberts and Richard Gere would have similar success. I sincerely hope it doesn't. Although, on occasion an intentionally funny movie, the frankly vomit-inducing final 20 minutes take it from an OK movie to an awful one. Initially promising, the film turns into a mawkish load of twaddle, not helped by the conveniently forgotten plotlines and, yet again, glossed-over age difference between two leads. This will undoubtedly do big business at the box office, mainly by those eager to see a repeat of Pretty Woman – I hope the critics

Beauty queen pageants are now an integral part of 20th century vanity, and DDG manages, via a mock documentary, to send them up in the most vicious, yet hysterical way. Ultimately a tale of rich/evil against poor/good, the black humour and satire against white-trash American culture serve to make this one of the funniest films of the year so far. All the main roles are superbly played, most notably perhaps by Ellen Barkin, cast out-of-type as the aging, drunken mother of Kirsten Dunst. My only criticism is that the last 15 minutes of the film was perhaps too laboured and needless. However, this is a minor quibble against a film that is a very unpleasant pleasant surprise!

The premise of an Anglo-Asian family growing up in 1970s' Manchester doesn't sound altogether riveting, but this is a poignant, but superbly funny portrayal of the difficulties faced by mixed-race children growing up in England and also a fiercely religious father who wants his children to maintain family principles. The language is often strong, but becomes less noticeable as the film progresses, and the whole cast depict their respective characters sensitively and realistically. My only quibble would be the relative acceptance that seems to be shown towards the family given that they're almost the only Asian family in the area. Seek it out if you can!

This is a typical British film. Full of pathos, self-deprecating humour and a very strong supporting cast. It's unashamedly sentimental, but thoroughly enjoyable, and anyone going to see it cannot fail to like it.

A sharp script by Jack Rosenthal and nicely directed, although the denoument of the film is never in doubt. Sadie Frost looks gorgeous as ever, and Bob Hoskins does his usual turn as a lovable rogue

A 90s' attempt to emulate James Bond which goes sadly wrong. The plot is riddled with flaws and inconsistencies and the relationship between Sean Connery and Catherine Z-J is frankly laughable. Apparently Sean Connery vetoed love scenes, because it would be unbelieveable with the age gap. However, in an effort to do portray a frisson of excitement, any semblance of reality has disappeared. Honestly, how many single 65-year-old men would turn down Catherine Z-J if she threw herself at them? Point proven!

I'm afraid that this is totally geared towards the US market and Catherine Z-J will do very well out of it, but with a dire script and unbelievable plot, the only trap being set here is luring punters in to pay and see it! Sorry!

Very close copy of Four Weddings with writer, Richard Curtis exploiting the success of the previous film's character types.

Hugh Grant does his usual bumbling bit, Julia Roberts smiles sweetly and is endearing. The film is made by the supporting cast.

Rhys Ifans steals the show as a 'masturbating Welshman' who wanders round in his Y-fronts all the time. He has the best lines by far.

The film is unthreatening and there are possibly too many slushy bits, but the viewer is quickly brought back into laughter mode.

Many people will say this is a carbon copy of Four Weddings. So what if it is? It isn't actually. It's very funny and well worth the ticket fee. Go see!